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Kenneth Roberts’ first novel, Arundel, is the tale of Benedict Arnold’s ill-fated march to Quebec through the wilderness of Maine. Readers experience the pain and toil of the soldiers as they traverse boggy land, carry heavy bateau across rapids, and fight cold and hunger on their way to capture Quebec. It was an epic march; despite the loss of men and supplies, a remnant of Arnold’s army was able to meet up with General Montgomery to attack Quebec (though they failed in capturing the city).

If you recall, Kenneth Roberts’, through the narrator of Arundel, blames Reuben Colburn for the failed expedition. Colburn had built the bateau used to traverse the waters, but they ended up being more of a burden than a help. Like many other historians, Roberts blames Colburn for using green wood to build the boats, as well as using the wrong kind of boat needed for the expedition. Continue reading →

One of the joys of studying Kenneth Roberts’ works is coming across what others have written about one of America’s best historical novelists. While it is easier to find more recent assessments of Roberts’ work, I’ve found it a little more challenging to find contemporary assessments of his novels. With that said, I recently tweeted a link to an article from June 1941 in The English Journal 30.6 by John T. Frederick. The article was written on the heels of the release of Oliver Wiswell, Roberts’ novel written from the perspective of a Tory during the American Revolution.

By the time Frederick wrote his article, Roberts’ was established as one of America’s foremost novelist, having already published Arundel, Rabble in Arms, and Northwest Passage. Frederick praises Roberts in his article, noting Roberts’ unique ability to “give us pictures of the American past which are honest, rich, and intellectually stimulating,” making Roberts “one of the major American writers” of their day (p. 435). For Frederick, a key factor in Roberts’ success as a novelist was his attention to historical detail.

Roberts’ novels are typically classified as ‘historical fiction.’ Generally, according to Frederick, works of historical fiction share common components: “exciting action on every page; a beautiful and vivacious – but not necessarily, in modern fiction, virtuous – heroine; period costumes and stage settings” (p. 435). Indeed, Roberts’ novels fit the bill of historical fiction; however, as Frederick notes, Roberts would probably be “reluctant” to classify his works as historical fiction. For,

beneath these aspects of superficial relationship to the conventional work of historical romance there lies bedrock historical fact and purpose which makes the work of Kenneth Roberts essentially and significantly different from the historical fiction that is written merely to entertain (p. 436).

Roberts did not write to merely entertain readers; rather, he wrote to teach history and to correct misconceptions of historical fact (see my post on why Roberts wrote historical fiction). Frederick observes:

He has written his historical novels as a matter of the considered choice of a mature and successful man; not primarily for money or for fame but because he wanted to write them, because he had something to say in them which he wanted profoundly to say, believed profoundly to be worth saying (p. 436).

Frederick’s observation is based upon the “extraordinary thoroughness of Kenneth Roberts’ historical research” (p. 437). Roberts’ writing of each novel was preceded by “prolonged and patient digging after facts” such that Roberts’ research nearly equaled that “of the best professional historians” (p. 437).

For example, prior to writing Arundel, Roberts traveled the path Benedict Arnold took when leading his expedition to Quebec in 1775. He sought out all possible source material, including the journals and letters of those involved in the expedition. Such was the depth of Roberts’ research that he was able to publish his original research in March to Quebec (1938) – “itself a major contribution to the history of the American Revolution” (p. 437).

The best evidence supporting the idea that Roberts was a historian as well as a novelist is found, according to Frederick, in Roberts’ research for Northwest Passage. Though the main character of Northwest Passage is Langdon Towne, the most dominant and dynamic character is Major Robert Rogers – the leader of Roberts’ Rangers. In what is perhaps Roberts’ most famous novel, Kenneth Roberts “rescued from the comparative oblivion of specialized scholarship one of the most interesting figures of all American colonial history” in Robert Rogers (p. 438). More significantly, Roberts’ penchant for extensive and thorough research led him to locate the record of Roberts’ court-martial, something which “historians had agreed was lost” (p. 437). As with Arundel, Roberts published his research for Northwest Passage in a volume that accompanied the limited first edition.

I believe that Frederick provides a sound case for Roberts as a historian. I believe, however, that many have – and still do – fail to consider Roberts as a historian because of: 1) he wrote novels, and 2) he was a controversialist. It was well-known in Roberts’ day – and today among Roberts fans – that Kenneth Roberts was very opinionated and did not hold back on letting others know what he thought. His opinionated nature shown through all of his novels as he sought to shatter common notions about events and historical figures (note his favorable depiction of Benedict Arnold in Arundel and, especially, Rabble in Arms; and his depiction of the Revolution from the eyes of a Tory in Oliver Wiswell). It’s as if Roberts’ novels were a vehicle for his opinions and views to which he doggedly held and argued.

What should be noted is that while Roberts’ opinions are not bedrock fact, we are able to distinguish between historical fact and opinion in his novels. The point I seek to make here is a philosophical one – that we all encounter fact (in this case, historical fact), and we all interpret that fact. Fact is something that does not change (e.g. Robert Rogers was court-martialed; Benedict Arnold led the expedition to Quebec in 1775, etc.). What we must do, though, is to make sense of the facts – what do they mean? How do they fit in with other known facts? Etc. Further, when it comes to a particular work – such as Roberts’ novels – why did the author include these facts and not others? Is the way in which the facts depicted accurate? Etc. That is, interpretation necessarily accompanies fact – we cannot avoid it. Though we like to think that scientists are unbiased and objective, even they necessarily interpret the facts presented them in their experiments. Detectives interpret the facts of a particular case. And, in particular to this post, historians interpret fact in order to understand the past. We all interpret fact -it’s unavoidable. Thus, where we differ is not in fact, but in the interpretation of the facts.

Thus, when it comes to Kenneth Roberts, it goes without saying that Kenneth Roberts held to some unpopular opinions (interpretations) of historical fact. This point is well-illustrated in Mark York’s Patriot on the Kennebec (2012). In his work, York seeks to depict Major Reuben Colburn’s contribution to Benedict Arnold’s expedition to Quebec. According to York in the “Acknowledgements”, Kenneth Roberts’ barely mentioned Major Colburn in Arundel while elevating the role of the Nasons (Roberts’ descendants) “at the expense of real heroes whose contributions were documented in the primary texts” (York, p. 9). York notes that Roberts was prejudiced toward Colburn, something that is noted in Arundel when Roberts wrote: “I was prepared to mislike Colburn…for being responsible for Washington’s and Aronold’s fondness for bateaux; but I had wronged him” (quoted by York, p. 10). Here, we see that there is a different of interpretation of Coburn’s contribution to the expedition. The question of who is right is beyond the scope of this post (and my ability to research the primary sources); the point is, both Roberts and York have the facts – they differ in their interpretation.[1]

Despite Kenneth Roberts’ tendency of contrarianism and his interpretation of historical fact, I believe that Frederick makes a good case for Roberts as a historian. Unfortunately, Roberts’ choice of genre has limited public perception of him to that of just a novelist. To do so, however, would be to misunderstand Roberts’ approach to writing and the purpose that drove him. What made Roberts a great novelist was his even greater skill as a historian.

[1] Why do people differ on interpretation? In short, it’s due in part to the various presumptions and beliefs one brings into the act of interpretation. We do not interpret in a vacuum, nor do we interpret from a completely neutral stance. Rather, we all bring to the table a framework from which we interpret facts presented to us (our worldview). This isn’t to say that we can’t judge between who is right and wrong; rather, it is to explain why there are differences in interpretation. Thus, to judge between differing interpretations is a more complex endeavor than we tend to view it today.

This morning while trolling Google for anything Kenneth Roberts related, I came across a great blog titled “Historical Novels.” According to the welcome message on the home page, the site “may interest those who enjoy historical fiction AND take the history seriously. I confess that I’m the sort who is outraged when a new historical novel or film takes liberties with known historical facts – for no good reason (sometimes there are good reasons). To that end, novels are rated on five criteria – posed as questions.”

I’ve actually been thinking lately of reading more historical fiction novels, but I’ll be honest, I’m rather hesitant to do so because I am unfamiliar with any other historical fiction writer. Hopefully, this blog can rescue me from the doldrums of ignorance.

Back in 2011, “Historical Novels” provided a favorable post for Kenneth Roberts’ Arundel, which you can read here. A link is also provided for what looks to be a very promising website: historicalnovels.info – a website that lists over 5000 historical novels.

Today, July 18, is my birthday. As I’ve grown older, and especially when my two youngest daughters were born five days and 10 days after my birthday, I have become rather specific and picky as to what I want for my birthday. Yes, I still get birthday gifts, but I don’t expect to get a lot of gifts (as one does when they are a child); rather, some money to go to Half Price Books or to go to Music-G0-Round for my drums usually fits the bill. However, the previous fourteen birthdays have primarily been gifts toward books for my education. Occasionally would I get something for my drum set or a book that was outside the realm of my studies.

Parker Vacumatic pen ad featuring Kenneth Roberts in 1938

This year is different, however, as I am no longer in school. I found a couple of Kenneth Roberts items on the web and pointed them out to my wife. One item that I received today for my birthday is a great ad from 1938. It is an ad for Parker Vacumatic pens featuring Kenneth Roberts. This ad is perfect for me in two ways: first, I am obviously a big Kenneth Roberts fan. Second, I really like old Parker pens. I have two Parker 51 pens that are still in working condition, and a Parker 61 pen/pencil set that has never been used (by the way, be sure to visit Parker51.com – a wonderful site on everything Parker 51). So, the Parker Vacumatic ad really combines two things like enjoy collecting: Kenneth Roberts works and old fountain pens (particularly Parker pens).

Several features about this ad stand out. First, it links a best-selling author with the use of a best-selling pen. Roberts had just published the best-selling Northwest Passage in 1937, and by using his likeness, Parker was riding Roberts’ wave of popularity. Behind Roberts’ picture is the first page of Roberts’ manuscript for Northwest Passage. The caption to the left of Roberts’ image reads:

In drafting the manuscript of Northwest Passage, his great novel of French and Indian wars and the gargantuan Major Robert Rogers, Kenneth Roberts wrote more than 2,000,000 words with his Parker Vacumatic; then rewrote and altered his rough draft to its final version of 300,000 words. The same unfailing pen helped Mr. Roberts create his famous portraits of Cap Huff and Benedict Arnold in Arundel and Rabble in Arms; King Dick, Capt. Boyle and Daniel Marvin in Lively Lady and Captain Caution.

While the ad’s mention of Roberts’ manuscript’s 2,000,000 words clearly intends to highlight the Parker Vacumatic’s durability and reliability, it also points to Roberts’ detailed and diligent work he put into his novels. Having just finished a dissertation that entailed editing and revising, I just cannot fathom writing 2,000,000 words, only to cut out 85% percent for a final tally of 300,000. I cringe at such a thought.

A second feature that stands out is the small print to the lower left-hand side of the ad. In small print, one reads:

No payment has been or will be made to Mr. Roberts, for the use of his name in this advertisement; and the Parker Pen Company, at his and to show its appreciation, will this summer provide funds to send a welfare worker with the Grenfell Mission to Labrador.

No doubt Roberts had every right to accept money from Parker for the use of his name and image; however, I find that this statement sheds light on a side of Kenneth Roberts that is often overshadowed by his outspoken personality. (For information on the Grenfell Mission, visit this link. The mission was started by Wilfred Grenfell to establish permanent medical care in Labrador and the surrounding area.)

This ad is an amazing piece of history, particularly in the information one can glean about Kenneth Roberts the man. So, when looking through old magazines, don’t ignore the old ads. You never know what you may discover!

P.S. I stated above that I found a couple of items on the web. The second item is a first edition copy of March to Quebec with the dust jacket, both in good condition. I’m very excited about this find as well; I’ve been looking for this book for quite some time in antique stores, used book stores, etc., and could not find it. So, I had to resort to the web (thank you abebooks.com!). Nevertheless, I am excited and have it on my nightstand as we speak, waiting to be read.

Recently, a fan of Kenneth Roberts wrote the website asking how it was that Cap Huff could appear in Northwest Passage and Arundel, two novels whose settings were roughly twenty-five years apart. His question was a great one considering that Arundel is the first of the four-novel series chronicling the history of Arundel during the Revolutionary War, while Northwest Passage recounted Robert Rodgers and his Rangers primarily during the 1750s and 1760s. I figured that there may be others who had a similar question, so I will post an adaptation of my response to the reader’s question (with some editing to make smoother reading and to add clarity):

Roberts’ Arundel is the first book in a four-part series on his ancestors and others from Arundel, and their involvement in the Revolutionary War up to the War of 1812. The main character of Arundel, Steven Nason, is based on one of Roberts’ ancestors from the Nason family who hailed from Kittery, Maine. Even though Northwest Passage is not a chronicle of Arundel’s past, the main protagonist of the story, Langdon Towne, lives in Kittery, Maine . Further, the Towne family was related to Roberts’ ancestors from the Nason family (Bales, 68); hence, a motivating factor for including the fictional Langdon Towne and setting the character in Maine. Now, on to Cap Huff.

[In response to the email’s claim that Roberts included Huff in Northwest Passage because he liked the character] Indeed, Roberts liked Cap Huff. In Jack Bales’ biography on Roberts (1993), he mentions how Roberts wanted a character that was a “‘noisy oaf’ because in all the military troops he had ever seen there was ‘at least one noisy clown, constantly in trouble and eager to steal anything that he or his friends needed'” (Bales, p. 41 quoting from I Wanted to Write, 182). Cap Huff’s appearance in Northwest Passage is not just because Roberts like him, but because there was a real connection between Arundel and Northwest Passage.

If you look at the timeline of the books, Huff’s appearance in both stories makes sense. On page 6 of NP, Towne says of Cap Huff that Huff is from Kittery, Maine, and made a living carrying packages from Portsmouth to Falmouth. We actually see Cap Huff enter the story very early in the book. Mention is made in the first few pages that Towne knew Huff as a friend, not just as an acquaintance, and that Huff commented often on Towne’s art. Chapter 2 begins in the year 1759 when Towne was in his junior year of Harvard. It was also the year when Huff (along with Hunk Marriner) visited Towne at Harvard on their way to sell pelts and furs in Boston; on their return trip, they brought ingredients to make hot buttered rum. Huff made the rum in Towne’s room for Towne’s friends and others who straggled along. (There are other times when Towne mentions Huff, but what I recall here helps to make clearer the link between NP and Arundel.)

Though Arundel takes place in the American Revolutionary War, the story begins years before the War. In the beginning of the book, the narrator Steven Nason tells of how his grandfather hailed from Kittery, Maine, before moving to Wells, Maine, where Nason’s father was born.

Book I of Arundel begins in 1759 when Nason was 12 years old (placing the time frame of Arundel parallel to the same time period when Langdon Towne met with Huff in Boston). Nason opens by recounting his first kiss with Mary, and then that evening, when Nason made it home, his house was full of guests, one of them being Cap Huff (“the noisiest person at the board,” 23). Nason spends a little time telling the reader about Huff, and on page 24, we learn that Huff knew little of his parents, but that in 1725 they were brought to Kittery after being saved from Indians. “Shortly thereafter this son being born” – that is Cap Huff (24). So, we are not told the year Huff was born, but we know that it was after 1725. So, in Northwest Passage and in Arundel, when the stories coincide in 1759, Cap huff was around 29 – 33 years old. This puts him around 46 – 50 years old when the Revolutionary War began and when Cap Huff makes a prominent appearance in Arundel (and Rabble in Arms).

As we can see, though both novels were set in different periods of Colonial American history, they overlap each other by virtue of Roberts’ use of his ancestors (the Townes and the Nasons) as the basis of the main protagonists of the novels and the roots they planted in Kittery, Maine and surrounding towns.

Disclaimer

This is an independent website. The opinions expressed on this website are those of the creator, Danny McDonald, and of no one else. This website is not affiliated with the Kenneth Roberts estate or any other person, organization or entity that is involved with storing of or dissimination of records pertaining to Kenneth Roberts.

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If you have questions or Kenneth Roberts info, email me at:
kennethrobertswebsite@gmail.com